The art of making lace in one form or another has existed from the
earliest ages. There are Scriptural references to various web-like
fabrics, which were of rude construction, no doubt, but whose general
characteristics were identical with those productions of modern skill
which have for centuries been known as lace. Homer and other ancient
writers constantly mention net-works of fancifully embroidered
materials; gold thread-work was known to the Romans; and as Egyptian
robes of state are depicted upon the tombs of the earlier dynasties as
being fashioned from a looped net-work or crochet, it is probable that
the Israelites learned the art from the Egyptians. Museums contain
specimens of lace dating back to periods that to us of the present day
seem mere dreams of reigns and eras, and history includes a scattered
literature of lace which proves that the art must have been practised
almost from the beginning.
Up to the Sixteenth Century, however, open work embroidery was the
favorite decoration, and from it the tangible origin of lace seems
derived. During the Renaissance period the first book of embroidery
patterns and lace-work appeared. The earliest volume bearing a date was
printed at Cologne in 1527; and it was during the reign of Richard III.
of England that the word lace was first used in the descriptions of the
royal wardrobe.
At first the best known laces were those of Venice, Milan and Genoa. The
Italians claim the invention of point or needle-made lace; but the
Venetian point is now a product of the past, and England and France
supply most of the fine laces of the present time.
Lace-makers in the various European countries are trained to the work
from childhood; but it is said that the makers of Honiton lace, the
fabric of which Queen Victoria's wedding gown was made, are rapidly
decreasing in numbers, so that there are few persons now living who
understand the construction of this exquisite "pillow" lace. The costly
point and Honiton and the dainty Mechlin and Valenciennes of bygone days
can only be produced by trained lace-workers, whose skilful fingers
weave bobbins of cobweb-like thread to and fro over the "pillow"
necessary to antique methods; and for this reason fine lace-making is
practically beyond the skill of the amateur. Besides, some of the
threads in the very filmy laces are so fine that they cannot be
successfully manipulated except in a moist atmosphere, such as that of
Great Britain; and even there some of the more exquisite specimens must
perforce be made in underground rooms, since it is only there that the
proper degree of moisture can be obtained. In dry climates these
gossamer-like threads would roughen and break at almost the slightest
touch.
Referring to the known origin of some of the earlier laces, a writer
upon the subject says:
"They say it was a woman, Barbara Uttmann, who invented pillow lace in
the 16th century. Women have ever been patrons of lace-making. Victoria
has kept the Honiton laces in fashion, and it was the Duchess of Argyle
who introduced lace-making in Scotland. The Countess of Erne and Lady
Denny and Lady Bingham began it in Ireland, and Lady De Vere gave her
own Brussels point for patterns when the first Irish point was made at
Curragh. It was Elizabeth of Denmark who introduced lace-making in that
country, and the Archduchess Sophia who started lace schools in Bohemia.
"Now at least I can have laces," said Anne of Austria, when Louis XIII.,
her husband died, and her court was famous for its cleanliness and its
Spanish point. Colbert had three women as coadjutors when he started
lace-making in France. It was because Josephine loved point d'Alencon
that Napoleon revived it. Eugenie spent $5,000 for a single dress
flounce, and had $1,000,000 in fine laces."
Victoria's favorite, Honiton, is not considered a particularly beautiful
lace, although its weaving is so tedious and difficult. "Real Honiton
laces," so says an authority, "are made up of bits and bits fashioned by
many different women in their own little cottages--here a leaf, there a
flower, slowly woven through the long, weary days, only to be united
afterward in the precious web by other workers who never saw its
beginning. There is a pretty lesson in the thought that to the
perfection of each of these little pieces the beauty of the whole is
due--that the rose or leaf some humble peasant woman wrought carefully,
helps to make the fabric worthy the adorning of a queen or the
decoration of an altar, even as the sweetness and patient perfection in
any life makes all living more worthy and noble. A single flower upon
which taste and fancy were lavished, and which sustained and deft labor
brought to perfection, represents the lives of many diligent women
workers.
It has become so much the fashion to worship all things ancient that
most lovers of fine lace would prefer to have it a century old; and yet
there never was a time when laces were more beautiful, more artistic and
more unique in design than just at the present day; for modern laces
preserve the best features of the laces that have gone before them, and
have added so many new inspirations that except for the sentiment, the
romance or the history connecting this scrap with a title, that with a
famous beauty, and another with some cathedral's sacred treasure, the
palm would certainly be given to the gauze-like production of the poor
flax thread spinner of the present day."
Not all people know the difference between point lace which is made with
the needle, and pillow lace which is made with the bobbins--but much of
the beautiful point lace of the present day is made with the needle, and
its beauty stands a favorable comparison with the more costly pillow
lace.
Strictly modern lace-making is a result of American ingenuity, and it
has so simple a basis and is so easy to learn that any woman of average
skill may, with little difficulty, produce by its different processes,
laces that are really magnificent and quite as substantial and useful as
they are exquisitely beautiful. In America modern lace-making has been
developed to a high degree of perfection by its pioneer, Mrs. Grace B.
McCormick, in whose designing rooms at No. 923 Broadway, New York, may
be seen specimens of modern laces of every variety, from dainty
needle-point to a very elaborate kind known as the Royal Battenburg.
This English name for an American production was selected in honor of
the Battenburg nuptials, which occurred about the time a patent for
making the lace was applied for at Washington. Only a few years have
elapsed since this plucky little woman made a single piece of lace
edging from common braid as an experiment, and sold it for a trifling
sum. Love for the work and perseverance have enabled her to overcome
obstacles that would have discouraged a woman of ordinary energy, and
she has gradually improved upon her earlier methods until modern lace
occupies a front rank among the numerous dainty forms of needle-work of
the day.
One of the finest specimens lately placed on exhibition is a table-cloth
intended for use at elaborate dinners. It is made of the finest table
linen and Royal Battenburg lace. The cloth is, of course, very large,
and the lace, in the form of wide insertion, is let in above the border
and is also arranged to divide the center into three squares. An outside
border of edging to match completes this exquisite production, which has
been two years in course of construction, and is valued at four hundred
and seventy-five dollars. The same style of lace may be made by any one
who studies the art and in any width or form, and it may be produced in
many textures, although really intended for heavy effects. The making of
such lace possesses a great charm for womankind in general, and will
undoubtedly retain favor as long as needlecraft remains a pastime and
employment with the gentler sex.